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A Rainy Street scene in Dieppe by Edward Brian Seago RBA, RWS British 1910-1974 Watercolour Paper Size: 11 x 15 inches Approximate framed size: 21 ...

John Rattenbury Skeaping (1901-1980) Mare and Foal Singed and dated '62 watercolour and pencil Drawing - 14 x 19 1/2 in Framed size - 23 x 28 1/2 in John Skeaping is regarded as the leading equine sculptor of the twentieth century. He also became a highly regarded racehorse painter in his middle age. He was born in South Woodford, Essex, England on 9 June 1901. His father was a portrait painter who shared a studio with Cézanne and his mother was a musician. Several other members of his family were also very artistic. He had an unconventional childhood as one of four children, none of whom were sent to school. His father believed in a basic training in the arts and they were therefore taken to exhibitions, concerts, theatre and ballet. For young John, the tandem themes of horses and art emerged and remained with him for the rest of his life. Aged 13 John Skeaping was already showing an early aptitude, and enrolled at Blackheath School of Art. Then aged 14 he went to Goldsmiths College in the Sculpture School. From there he went to the Central School of Arts & Crafts and then the Royal Academy Schools, where he won the Royal Academy Gold Medal and travelling scholarship. He then taught in Newcastle. In 1924 he won the Prix de Rome and went to Rome on a three year scholarship. Barbara Hepworth won the second prise and they met in Rome and married in Florence in 1925. They returned to London in 1926 and worked together for a while. Indeed, they put on a joint exhibition in Glasgow and London in 1928 that established them in the forefront of British Sculpture. However, the couple drifted apart artistically and personally and separated in 1931, divorcing two years later. Skeaping continued modelling and carving, and created several animal pieces for Wedgwood in 1928 of a Sea Lion, Kangaroo, Duiker, Polar Bear, Bison, Tiger, Deer and Antelope groups that are quite stylized and reflect the Art Deco influence of the era. He also did stone carvings of animals during this time. During the 1930s, Skeaping spent as much time as possible in the countryside with his second wife, whom he married in 1934. They were lent a cottage in Dartmoor, where they stayed for a summer and started to train and race greyhounds. At the beginning of the Second World War Skeaping served in the Royal Intelligence Corps as an official war artist in Europe before transferring to the SAS in North Africa. However, he began to suffer from nervous stomach trouble and was invalided out just before the end of the war. On his return to civilian life he became disillusioned with London, so went to Devon to live. After a short while though he returned to London and spent a period teaching at the Royal College of Art. He then went to Mexico for a year and a half, living amongst the Native Americans and learning how to make their traditional pottery. In 1950 he returned to England and became Professor of Sculpture at the Royal College of Art. He remained there until his retirement in 1959 when he moved to the Camargue in France, partly for health reasons. There he studied the wild horses of the Carmargue, and lived for twenty years with his third wife. Skeaping first exhibited at the Royal Academy in 1922; he was elected an Associate there in 1951 and Academician in 1959. During the late 1940s and into the 1950s, Skeaping was associated with the famous Ackermann firm who offered sporting and racing art. He produced many paintings and drawings of horses...

E. Rusch (late 19th century) Memento mori - Study of a skull in two positions Pencil drawing Signed and dated lower right Drawing Size - 13 x 18 in Framed Size - 19 1/2 x 24 1/2 in ...

E. Rusch (late 19th century) Memento mori - Study of a skull Pencil drawing Drawing Size - 11 x 18 in Framed Size - 17 1/2 x 24 1/2 in Memento mori is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and Christianity, and appeared in funerary art and architecture from the medieval period...

A pastel portrait of Lady Margaret Smith-Burges, later Countess Poulett (1754-1838) by Sir Thomas Lawrence (1769-1830). Oval, pastel on paper 29.5 x 24cm (excluding frame), in an ornate giltwood and gesso frame with a coronet crest, circa 1785. Inscription on reverse ' Portrait in crayons by Sir Thomas Lawrence of the Dowr. Countess Poulett'. This is a rare and early work in Lawrence's career who as a child prodigy began working as a youth in pastels, moving on to work almost exclusively in oils after 1790. Margaret (born Burges) was the daughter of Ynyr Burges and Margaret Brown. She became the wife of Sir john Smith-Burges, 1st Baronet in 1771 and later after his death the wife of John, 4th Earl Poulett whom she married in 1816. During her first marriage, Margaret was a regular visitor to Bath and very likely sat for the young Lawrence whilst he was living there. Thomas Lawrence was born the son of an innkeeper who moved the family to Bath in 1779. His father, recognising his son's talent from an early age, advertised his services as a portraitist in the Bath Journal; 'Master Lawrence continues to take very striking Likenesses of Ladies and Gentlemen in the most pleasing attitudes, either in pencil or crayons'. The large number of potential sitters who had come to Bath 'for the season' or to 'take the waters' helped to support the family with a steady income and the child prodigy became very popular with aristocrats and the famous and wealthy. Hi sitters in Bath included Georgiana, Duchess of Devonshire and the actress Sarah...

A fine 1930s watercolour of a Parisian bordello scene by the Russian Post-Impressionist painter Konstantin Rudakov (1891-1949). Signed by the artist and hanging in a newly commission...

‘St Bartholomew’s, Smithfield 1899’ by Henry Edward Tidmarsh (1855-1939). This work has just been professionally conserved with acid-free mount, re-gla...

‘Henry VIII’s Gate, St Bartholomew’s Hospital 1899’ by Henry Edward Tidmarsh (1855-1939). This work has just been professionally conserved with acid-free mount, re-glazed behind Mus...

William Lock the Younger (Norbury 1767-1847 Mickleham) Study of a chariot Pen & ink on paper Drawing size - 20 x 33 cm Sold Unframed And William Lock the Younger (Norbury 1767-1847...

Biro on paper Paper size: 10 x 9 inches each Framed size: 23.5 x 21 inches each B monogrammed lower right

Pencil on paper Paper size: 5.5 x 7 inches Framed size: 21 x 23 inches Provenance: Private collection, London

Collage & gouache on paper Paper size: 7 x 6 inches Framed size: 22.25 x 21.25 inches Signed and dated 1985 lower right